This Week in Classical Music: July 12, 2021.Heinrich Isaac.Gerald Finzi, a British composer, Eugène Ysaÿe, a Belgian composer and virtuoso violinist, andGiovanni Bononcini, an Italian and Handel’s rival, were all born this week (on July 14th of 1901, July 16th of 1858 and July 18th of 1670 respectively).But we’d like to write about Heinrich Isaac, as we haven’t done so before.Isaac, a contemporary of Josquin des Prez and Jacob Obrecht, was born around 1450 in southern Flanders, probably in the Duchy of Brabant.As usually is the case with the composers of the era, little is known about his youth.He’s first mentioned in 1484 as a composer at the court of Duke Sigismund of Austria in Innsbruck.In 1485 he was already in Florence, singing (and probably composing) at the magnificent Baptistry, at the Cathedral of Santa Maria del Fiore, and the Basilica della Santissima Annunziata.Soon after, he entered the employ of Lorenzo de’ Medici the Magnificent, the de facto ruler of Florence during that time.Lorenzo didn’t have a formal chapel of singers, but Isaac was expected to set to music the poems by Lorenzo’s favorite authors and, as Professor Strohm writes, “to contribute generally to the musical life of the Medici household and the city.”Isaac stayed in Florence till 1496; after Lorenzo died in 1492, he came under the patronage of Lorenzo’s son Pietro de’Medici.Even though the Medicis were banished from Florence in 1494, the association with the family was quite beneficial to Isaac: when Lorenzo’s other son, Giovanni, was installed the Pope Leo X in 1513, he became Isaac’s patron in Rome.In the meantime, in 1496 he found employment in Vienna, at the chapel of Maximilian I, the future Holy Roman Emperor from the Habsburg family.By 1502 Isaac was back in Italy, first in Florence and then at the Este court of Ferrara, where he had hoped to find a job.To quote Strohm: “Josquin des Prez was chosen instead, although the court agent Gian d’Artiganova reported (2 September 1502) favourably about Isaac who ‘would compose whenever asked’ and not as he pleased like Josquin.”Isaac returned to Tyrol to join Maximilian’s court and served there till 1514.In 1515 Maximilian allowed Isaac to live in Florence while receiving a salary.He stayed there, composing for Maximilian, the Pope and the church of Santissima Annunziata.Isaac died in Florence on March 26th of 1517.
Isaac was tremendously prolific, composing masses, 36 of which survive, motets and songs.He was one of the few composers to work in the German language lands, and thus influenced musical development in those countries.Here is Virgo Prudentissima, composed by Isaac for the court of Maximilan I.It’s performed by the ensemble Stile Antico, a British group which is rather unique in that it performs without a conductor.And here is another motet, Innsbruck, Ich Muß Dich Lassen (Innsbruck, I must leave thee); as the one above it was written for Maximilian I.The motet is based on a popular song, also composed by Isaac; it was also used by Johann Sebastian Bach at least twice, in his Cantata BWV 97 In allen meinen Taten and Cantata BWV 117 Sei Lob und Ehr dem höchsten Gut. Innsbruck is performed by the ensemble Hofkapelle under the direction of Michael Procter.
We don't know what Heinrich Isaac looked like -- no portraits of his are extant. The picture above, painted by Albrecht Dürer in 1519, is of the Emperor Maximilian I, Isaac's generous patron.
Heinrich Isaac, 2021
This Week in Classical Music: July 12, 2021. Heinrich Isaac. Gerald Finzi, a British composer, Eugène Ysaÿe, a Belgian composer and virtuoso violinist, and Giovanni Bononcini, an
Italian and Handel’s rival, were all born this week (on July 14th of 1901, July 16th of 1858 and July 18th of 1670 respectively). But we’d like to write about Heinrich Isaac, as we haven’t done so before. Isaac, a contemporary of Josquin des Prez and Jacob Obrecht, was born around 1450 in southern Flanders, probably in the Duchy of Brabant. As usually is the case with the composers of the era, little is known about his youth. He’s first mentioned in 1484 as a composer at the court of Duke Sigismund of Austria in Innsbruck. In 1485 he was already in Florence, singing (and probably composing) at the magnificent Baptistry, at the Cathedral of Santa Maria del Fiore, and the Basilica della Santissima Annunziata. Soon after, he entered the employ of Lorenzo de’ Medici the Magnificent, the de facto ruler of Florence during that time. Lorenzo didn’t have a formal chapel of singers, but Isaac was expected to set to music the poems by Lorenzo’s favorite authors and, as Professor Strohm writes, “to contribute generally to the musical life of the Medici household and the city.” Isaac stayed in Florence till 1496; after Lorenzo died in 1492, he came under the patronage of Lorenzo’s son Pietro de’Medici. Even though the Medicis were banished from Florence in 1494, the association with the family was quite beneficial to Isaac: when Lorenzo’s other son, Giovanni, was installed the Pope Leo X in 1513, he became Isaac’s patron in Rome. In the meantime, in 1496 he found employment in Vienna, at the chapel of Maximilian I, the future Holy Roman Emperor from the Habsburg family. By 1502 Isaac was back in Italy, first in Florence and then at the Este court of Ferrara, where he had hoped to find a job. To quote Strohm: “Josquin des Prez was chosen instead, although the court agent Gian d’Artiganova reported (2 September 1502) favourably about Isaac who ‘would compose whenever asked’ and not as he pleased like Josquin.” Isaac returned to Tyrol to join Maximilian’s court and served there till 1514. In 1515 Maximilian allowed Isaac to live in Florence while receiving a salary. He stayed there, composing for Maximilian, the Pope and the church of Santissima Annunziata. Isaac died in Florence on March 26th of 1517.
Isaac was tremendously prolific, composing masses, 36 of which survive, motets and songs. He was one of the few composers to work in the German language lands, and thus influenced musical development in those countries. Here is Virgo Prudentissima, composed by Isaac for the court of Maximilan I. It’s performed by the ensemble Stile Antico, a British group which is rather unique in that it performs without a conductor. And here is another motet, Innsbruck, Ich Muß Dich Lassen (Innsbruck, I must leave thee); as the one above it was written for Maximilian I. The motet is based on a popular song, also composed by Isaac; it was also used by Johann Sebastian Bach at least twice, in his Cantata BWV 97 In allen meinen Taten and Cantata BWV 117 Sei Lob und Ehr dem höchsten Gut. Innsbruck is performed by the ensemble Hofkapelle under the direction of Michael Procter.
We don't know what Heinrich Isaac looked like -- no portraits of his are extant. The picture above, painted by Albrecht Dürer in 1519, is of the Emperor Maximilian I, Isaac's generous patron.